Title of presentation: Collaborative Practice between studio artists -it’s a lottery.
Abstract: We will be showing a film of the Old Skool Breaks collaborative project carried out over the last year at Primary, Nottingham. Also we will give an account of the Wysing Open Studios(Cambridge) collaborative project. The synergy between those two projects, which both use a lottery procedure to pair artists, will be explored and discussed.We will look at some of the ways that the artists worked together on making exhibits. We will finish by explaining the proposed Expanded Studio Project, between the two studios, which aims to further develop this model of collaborative practice.We will look at how others can get involved with the process.
Bio: Frank Abbott is an artist filmmaker based at Primary, Nottingham, producing projection work. His work has been a response to the impact of living through a massively transformed media environment in the course of the last 50 years. He has combined the making of his own work with an activism around the development of a creative culture through discussion, education and workshops. In 2010 he retired from a teaching position leading the Fine Art, Creative Collaborations and Film Practice Masters courses at Nottingham Trent University School of Art and Design.
amaCollective (UK, Italy and Peru/USA)
Title of presentation: dontdrinkthemilk: a de-synched conversation
Abstract: The starting point of the discussion will be defining the notion of dialogue in accordance and contrast to universally acknowledged definitions given by, for instance, the Oxford English Dictionary. With an in-depth look at their current project, dontdrinkthemilk, the presentation will consider the effects of de-synchronisation when applied to curatorial and artistic practice. This will be demonstrated with a series of practical examples from contemporary artists Juan Crespo, Zachary Eastwood-Bloom and Liz Miller, whose involvement with dontdrinkthemilk encompasses amaCollective’s own definition of Dialogue. The ultimate goal is to demonstrate the potential of this discourse through a performative intervention.
Bio: A London-based curatorial collective comprised of Alejandro Ball (1983, Peru), Amy E. Brown (1986, United Kingdom) and Miriam La Rosa (1988, Italy).They are currently involved in a research project contemplating the notion of Dialogue, taking the form of an exploratory process of communication through performance and performativity.
Title of presentation: Paper
Abstract: The paper has a methodological focus concerning the way curators interact with artists and influence the art-making process beyond the way the work is displayed and communicated. Two case studies are presented, that analyse the role of material artefacts (such as mock ups, proposals, sketches and prototypes) as supporting the process of dialogue and negotiation between artists and curators. The paper draws extensively on theories of boundary objects (Star 1989), material thinking and prototyping.
The first case study is informed by the development process of Connecting Cities, a media facades festival across networked venues in Europe. Its curatorial process is based on periodic workshops where artists and curators converge from different parts of the world to discuss the proposals and adapt them to the conceptual framework and the specific infrastructure of each venue. The second case study is Betagrams, a group show exploring a range of artistic approaches to the aesthetic of prototyping. In this case the artefacts offer a starting point for a conversation carried throughout the curatorial process as a bespoke research methodology to identify a non-exhaustive taxonomy of features of prototypes. The process was articulated in a series of interviews that informed both the exhibition-making process and the author’s theoretical endeavour
Bio: Gabi Arrigoni is a PhD candidate in digital media art curating and lectures at Culture Lab for the M.A. Creative Art Practice. Her research interests lie at the intersection of future and innovation studies, design and speculative culture. Her doctoral project focuses on artistic practices taking place in research and media labs and brings forward the argument that the association of art with production of knowledge and innovation is impacting aesthetic patterns and trends. Former editor in chief of undo.net, the first Italian online platform for contemporary art, she has curated a number of exhibitions and talks in not-for profit spaces. She has presented her research at international conferences and published articles and essays on contemporary art magazines across Europe.
Title of presentation: Words of Rage
Abstract: Two women stand on plinths each holding a megaphone. Poised to speak they shift position suggesting an immanent dialogue. However, they remain silent. They are held back, prevented, restrained, by an unheard internal dialogue. Meanwhile, projected on the wall behind the women is a changing series of words. These words; abusive, vulgar, shocking, angry, suggest the rage the women cannot discuss.
After 10 minutes the women appear to give up. They are defeated, and their failure, their muteness, is physically apparent through the change from upright and assertive to demure and feeble. They lower their megaphones and leave their plinths, defeated by their inability to speak.
Bio: Bartram O’Neill are a collaborative partnership between Angela Bartram and Mary O’Neill. They have exhibited, performed and published nationally and internationally, both independently and collaboratively. They have most recently performed at Gray Zone (Kingston, New York) and Miami International Performance Festival 2014. Their work has been included in Art Basel | Miami Beach 2013, Low Lives 4 streamed event, ‘BLOP 2012’ at Arnolfini Bristol, ‘Action Art Now’ for O U I International performance festival York, 2011, and at ‘The Future Can Wait’ in London, 2009. They publish writing on their practice including ‘Response Oral Response’ in Total Art Journal most recently (volume 1, number 2, Fall 2012). Both are senior lecturers in Fine Art at the University of Lincoln.
Isabel Becker (Germany)
Title of presentation: A conversation with paper
Abstract: In this live drawing performance the setting will be in a way that the visitors can only see my hands. They are invited to tell me a story or anything that comes to their mind. While they are talking, I will not respond with words but with drawing. My drawing is a visualisation, a connotation, an interpretation. Since I cannot see what I am drawing, my output is less controlled. It comes from a body response rather than a representation of my mind. And dialogue is more free, when we can’t see each others faces.
Bio: Isabel Becker was born in 1977 in Frankfurt and lived in Vienna and San José before moving to London in 2011. Her solo exhibitions include: Exactly Without- Venice, Gallery Spiazzi, Venice (2007); Clashy Drawings, Franzensgasse, European Year of Science and Creativity, Vienna (2007); and Russische Originalversion, Schauraum, Vienna (solo, 2008); Montag ist erst übermorgen.Young Art on Paper. Acquisitions of the Graphic Collection 1997-2012, Academy of Fine Arts, Vienna (2012). She was awarded the Sussmann Art Prize in 2006 and the Theodor Körner Art Prize in 2007.
Title of presentation: The Tender Space: Theatre, Dialogue and Response-ability
Abstract: I am interested in the word ‘tender’. To be tender (adj.) is to be gentle, affectionate, compassionate or loving; but it is also to be sore or painful. A tender (n.) is someone who looks after another person, place or thing. To tender (vb.) is to offer, propose or bid. The root of this verb is the Latin ‘tendere’: to stretch or extend. To tender is to reach out. To tender is to speak. To (be) tender is to be in dialogue.
I propose that tenderness is created in the space between the offer and the response; the tenderer and the responder; the space between bodies and words. I am calling this space tenderness. I believe it is similar to the space Emmanuel Levinas calls ‘response-ability’ and Augusto Boal calls ‘dialogue’, and also ‘theatre’.
Bio: Sophie Bush is a Lecturer in Performance at Sheffield Hallam University and has previously taught at the Universities of Sheffield, Huddersfield and Manchester Metropolitan. Her research and teaching interests lie in the history, practice and politics of contemporary British Theatre. Her doctorate, on the work of Timberlake Wertenbaker, was awarded by the University of Sheffield in 2011, and in September 2013, her first book The Theatre of Timberlake Wertenbaker was published by Bloomsbury/Methuen Drama. She maintains an involvement with practical theatre-making, as director and devisor.
Title of presentation:Body-Movement interactive art installations, perception and consciousness in embodied Interactive 3-D audio/visual environments.
Abstract:The transformation of physical and spatial experiences brought about by information in the code call into question the boundary between material and immaterial, and also between physical perception and information flows. Interactive audio/visual installations explore new body languages, through virtual body-extensions, which are formed pre-formed, and which aid our perception of hidden and unconscious phenomena. The tactile-spatial approach to interactive audio/visual, is important to consider, in the design of interactive installations that are concerning itself with mind/body interaction, perception/consciousness, human-machine interaction, and the co-creation of an audio/visual installation. Body sense perception and body-movement perception in the VR or interactive environment can lead to a disruption of normal body kinesthetic and proprioception. To co-create an individual experience of energy and sound, in the interactive engagement of 3-D spatial and synth sound parameters, via the body cause the body to move in transformative ways, to open up channels of perception for an individual creative experience.
Bio: Ken Byers is a multi–media digital artist from UK, his interests are in art, science & technology, new media philosophy, human computer interaction. He has shown in both UK and Internationally in USA, Russia, Eastern and Western Europe. He studied for an MA in Fine Art at University of Northumbria and later an MA in Media Production (Film & TV) University of Sunderland. He is currently completing a PhD in ‘Body-Movement Interactive Digital Audio/Visual Installations’, at the University of West Scotland. His current media interests are in interactive installations, 3-D moving image, new media installations, and sound design. He was selected for Asia Siggraph 2012, for the Emerging Technologies Exhibition, and ISEA2014 20thInternational Electronic Art Symposium in Dubai. He is currently working as an artist/artist researcher with special interests in Perception and Consciousness in the use of new media interaction.
Tom Estes (UK and USA)
Title of presentation: EMOTICON
Abstract: In the episode “The Age of Steel”, Dr. Who is able to defeat the Cybermen by shutting down their emotional inhibitors, enabling them to “see” what had become of them. Their realization of what they had become led them to either simply shut down out of sheer horror, or partially explode. By donning the mask of a Cyberman, I attempt to question how our view of life is increasingly mediated by machines and the digital as a shaping condition and structuring paradox. As a starting point the work explores the sense of disorientation and dislocation as a standard modern condition. However, during my performance, audience members are asked to interact by taking pictures on what I refer to as a “communal camera”. This is what I refer to as ‘Harnessing The Hive’; a type of shared or group intelligence that emerges in consensus decision making.
Bio: My name is Tom Estes and I am an artist. My work has been hung, played and performed in a few of the world’s right places and a couple of deliciously wrong ones. Although I am skilled in many disciplines, and often employ a wide variety of different media in my work, digital photography and Live Art performance is at the heart of my practice. There is a real Peter Pan Syndrome at play in my work and I suppose I would consider myself a carnival sideshow conceptualist, combining a bare-bones formal conceptualism with an eternally adolescent, DIY comic-prank approach.
Title of presentation: Public Art Road Trip
Abstract: Figure Ground are on a Public Art Road Trip, taking place over 2014-15. The idea is a mapping of art in the public realm, by artists with artists, seeing the lay of the land since the shift in funding and provision for the arts from the early 2000s to the present.In a series of short journeys which make up the ‘road trip’, we are meeting practitioners who have self-initiated projects or artworks that they define as public –socially engaged, participatory, public art, art in the public realm, etc. As definitions of public art evolve, we are interested in how artists articulate what work in public means, and what form that work takes.As part of In Dialogue we want to invite participating artists to come and meet us in our mobile studio for a conversation. We’ll also have a display and zine of previous conversations, and add to this throughout In Dialogue.
Bio: Figure Ground (Jack Brown, Katy Beinart, Laura Krikke and Jo Thomas) emerged from a group of artists who had been recipients of the Art Plus Award Scheme (Arts Council – South East and SEEDA), and who saw the potential in developing a network for artists working in innovative ways in the public realm, to build on contacts and learning developed through Art Plus. Since 2007 we have held events around the South-East, including a mini-residency on LV21, a lightship on the Kent coast. Our current project, Public Art Road Trip, is supported by Arts Council England.
Title of presentation: Talking Matter
Abstract: Talk with me, let’s make conversation. What do we put together, sharing what we know through our hands, our bodies, our words? Talking Matter is a one-to-one interaction that focuses on conversation as a process of collaborative creation. Inviting participants into a dialogue conducted through both words and clay, it explores themes of body knowing and body memory. It celebrates the uniqueness of the unwritten knowledge we each hold in our bodies, and highlights the creation of something new through the shared process of speaking and listening, exchanging experience through words and hands.
Bio: Rachel Gomme is an artist working in performance and installation. Her work has encompassed a range of forms but is centred on the live presence. Through durational performance, site-specific performance and one-to-one interactions, she seeks to open a space for engagement with the embodied moment, awareness of the unnoticed detail of bodily presence and processes, and to highlight the viewer’s essential involvement in creating the unique, shared moment of performance. She has presented work, performed and taught throughout the UK and internationally. She is currently undertaking PhD research at Queen Mary University of London.
Title of presentation: (h)edge on site in silence
Abstract: Performing as ‘(h)edge on site’ we will conduct an on-going, silent and unannounced performance: mimicking each other, drawing, rearranging, placing and making small repeated actions. Inspired by the illogical logic of the old school, time and motion inspectorate and under the (mis)direction of the beautiful randomness that is the hall mark of unfettered collaboration, we will survey, investigate, realign and report on the space and its contents. We will do this silently, immersing ourselves in dialogic gesture; testing the reflexive nature of our practice and its intent to activate audience involvement as people glimpse or ‘catch sight’ and otherwise uncover our interventions. It is this unfolding discovery of discreet and dispersed elements that we think creates an aura of ownership; involving people in stories beyond the fascia of the environment and thus creating, we hope, a collaborative and co-productive relationship with the audience.
Bio: We are Katrinka Wilson and Michelle Rheeston-Humphreys aka (h)edge kelektiv; our name refers to hedge witches, who lived on the edges of communities; known for their alternative perspectives, they signified the boundary between this world and otherworld’s. We position ourselves as contemporary hedge artists; we feel it defines our collaborative practice and our determination to find new possibilities. As artist’s who work in the public realm, we are interested in things on the verge. We use dialogue in verbal and non-verbal forms as well as traditional skills and incongruent materials to create environments where all things are seen as possible.
Daniel Hunt and Selina Mosinski
Title of presentation: HDPE (High-density polyethylene)
Abstract: Fetish, Provocation, Petrochemical plastic container manufacturing, Sex, and the Text. Two performers sit close together behind a small desk. They each have papers containing technical information concerning the manufacture of plastic containers and their distribution. They share one just-out-of-reach microphone placed in front of the desk, and take in turns to read out their text, leaning forward to the microphone (and so closer to each other) to do so. Concerned with the aesthetics of minimalism, intimacy and of presentation, and the fetishisation of text, amplification, and verbal exchange, the piece uses found text as a springboard for generating dialogue and a concentrated exploration of the potential of the presence of the performer to generate meaning. It finds beauty, poetry and provocation in the language and terminology of petrochemical manufacturing, distribution and commerce, and in the mechanics and physicality of dialogue.
Bio: Daniel Hunt is a Lecturer in Drama within the School of Performing Arts at the University of Lincoln. His performance work centres around the possibilities that forms of collaboration offer the creative performance maker, improvisation, and textual and formal experimentation Recent performance work has been presented at (amongst others)Emergency, Manchester, PEEP Anatomy at the Edinburgh Fringe, Hoopla! at Sugarhouse Studios, London, the Stockton International Riverside Festival, South Hill Park, Bracknell, LIFT Molten Festival, The Whitstable Biennale, and Watch This Space at the National Theatre. He is a member of the Nottingham Studio Group 3rd Space and the performance company Dirty Shade.
Bio: Selina Mosinski is an actor and performance maker currently working with Lickle Gal Productions, Stipe and Day and Dirty Shade. Her work focuses on creating satirical text, and performance that mostly centres round subjects such as Objectophilia , Fetishism and farce, using props and costume that usually have no relevance to any of the above. Previous work has been shown at Hatch; Nottingham, Conway Hall; London, and Derby Theatre.
Monika Jaeckel (Germany)
Title of presentation: The Touching Moment: Touch as dialogical form – the matter(ing) of response(ability) or being constituted by getting in touch
Abstract: The aspects of touching upon something or being touched affects movement in general and thus the way orientation is formed along the lines that define our habitual view as knowledge of and in this world . “Touch moves and affects what it effects.” K.Barad expresses here the responsibility and interdependence of matter(ing) that defines us and the world around through this intra-action that entails the touching moment in its manifold meanings. Like dialogue, touch can never really grab or incorporate something external, but may reveal the self within the other and the other within self. This is the paradigmatic nature of any dialogical exchange, which never fully ‘gets’ the other, but eventually creates a resonance that bounces off towards new insights. Touching, understood as intra-active form of contact transposition reveals an infinite alterity that leads to a response/ibility engaging both sides, and cannot be performed without mutual involvement. Monika will be performing with Katherine Hall, Jack A.G.Britton and Lewis Holt.
Bio: Monika Jaeckel, Berlin, Germany; research oriented artist and writer in the fields of performance and theory; studied video/performance with J.Jonas, Stuttgart; 2002 MA European Media with O.Lialina, Merz-Akademie Stuttgart/University of Portsmouth. Current artistic research project of ‘memacism’ centering around this self-invented acronym for the concept of motion embedded mind agency.www.delegate-perception.net; www.mindgap.org/portfolio
Katherine Hall is an interdisciplinary dance artist working in the East Midlands and South West, UK. Within choreographic and social environments, Katherine is particularly concerned with the fragility of time and interrelationships, seeking to present situations that offer up different modes and forms of being and acting together. Her choreographic work aims to capture unsustainable and unfinished moments of human experience and to consider the on-going nature of life’s oddities, know-hows and intimacies through performance. She explores the re-imagining or unfolding of relational moments through a blurring of performance disciplines involving movement, voice, improvisation, writing and score-making. https://www.facebook.com/KatherineHallDanceArtis
Jack A.G. Britton is a performance maker and traceur (parkour practitioner) based in Leicester. He received his MA in contemporary performance with distinction from De Montfort in 2013 and is currently developing a performance that explores his history and relationship with parkour called 1.9.
Lewys Holt is freelance Dance Artist working in the East Midlands, UK. His work takes the form of improvised performances, dramaturgical roles, choreographer and writer-researcher. He completed an MA in Performance Practices at De Montfort University in September 2014. Lewys’ practice as an artist is currently centered on improvisation and performance making. He draws on body-based techniques in my improvised performances such as the Alexander Technique, Skinner Releasing and Contact Improvisation having worked with artists such as Nina Martin, Stephanie Skura and Rick Nodine. Additionally Lewys’ style of dance is influenced by an awareness of the postmodern dance revolutions of the 1960s. Lewys’ intention in his performances is to question social and cultural norms by illuminating aspects of the human condition that pertain to fragility, chaos, awkwardness and discomfort coupled with a forceful energy which seeks to break through these features of existence to form an overriding logic. Lewys is currently developing and showcasing a performance interrogating notions of ‘coolness’ and masculinity entitled ‘Of, Or At A Fairly Low Temperature’. www.facebook.com/lewysholtdance
Howard Lotker (Prague)
Title of presentation: Inter(acting) with the Inner Partner – a workshop and presentation on of a public self-dialogue discipline
Abstract:(Inter)acting with the Inner Partner (IwIP), translated from the Czech “Dialogické jednání s vnitřím partnerem,” literally, “dialogical (inter)action with the inner partner.” It’s a solo open improvisation discipline, a holistic psychosomatic path of studying and practicing the elementary dynamics of dramatic, creative, disciplined, playful and spontaneous (inter)acting in a performance situation. This process involves cultivating the personality, studying the principles of dramatic play, and developing the psychosomatic fitness needed for being fully and creatively in public. IwIP is about coming to know yourself by relating to yourself consciously and creatively. Studying it involves learning what it means to be a partner to yourself.This discipline dedicated to self-play, self-dialogue, and self-discovery was created by Professor Ivan Vyskočil in the dark days of Czechoslovak “normalization,”and he has been developing it for over 35 years. Actors, students of acting, as well as all people who “act,” “do” and “perform” in front of others in their professional or everyday lives (teachers, social workers, doctors, lawyers) as well as individuals in other creative fields (e.g., film, visual arts, philosophy) find the discipline contributes to their professional work and personal growth.
Bio: I am a theater maker, director, performer, devisor and theatre pedagogue based in Prague. Currently I am Head of Performance at Art of Place – Theatre Creation in Non-traditional Spaces (UMM – DTNP) at the Theatre Faculty of the Prague Academy for Performing Arts (DAMU), where I also received my master’s degree under the creator of IwIP, Professor Ivan Vyskočil at his Department of Authorial Creation (KATAP DAMU), where I still teach. I am one of the main lecturers for the English language Authorial Acting Masters’ Program at KATAP DAMU. I am also founding Artistic Director of HoME theatre company, with whom I direct, teach workshops, and perform in site-specific, interactive, and other experimental theatre performances around Europe, North America, and the Middle East. I have been studying and practicing IwIP for 13 years, teaching for over 10. I have led workshops at Yale University, Royal Central School of Speech and Drama, School of Visual Theater (IL), Rose Buford College etc.
Suvi Nurmi and Saara Honkanen (Finland)
Title of presentation: Poem Caching
Abstract:In Poem Caching the internationally popular geocaching hobby is combined to communally created site-specific poetry. The idea is to emphasize details from urban environment and to celebrate them with unique poems that are created through dialogue. Throughout the symposium there will be three caches hidden on the route between the In Dialogue venues. The Poem Caching blog provides a map which shows the approximate locations of the caches and their coordinates. Every cache is provided with a piece of paper and a pen, plus instructions: if there isn’t any writing on the paper yet, the finder can start a poem by writing a couple of verses on the paper, inspired by the location of the cache. If there are already some verses written, the finder can continue the poem with verses of their own, reacting both to the existing text and the location.The poems will be published along with pictures of the locations in the Poem Caching blog: http://poemcaches.blogspot.com
Bio: Suvi Nurmi is a Helsinki-based visual artist who has graduated as MFA from the Finnish Academy of Fine Arts in 2011. The key words of her artistic practice are site-specificity, participation and text. Her works are mostly text-based installations in public space or communal poetry workshops.
Bio: Saara Honkanen is an independent writer and performer who has worked in projects of participatory art and theatre. Through her work she aims to bring tiny shards of the fantastical and extraordinary into everyday environments.
Title of presentation: Emma Frances O’Connor From Wikipedia, the free encyclopaedia
Abstract: “If you are worthy of inclusion in the encyclopaedia, let someone else add an article for you…The article may remain if you have enough humility to make it neutral and you really are notable, but even then it is best to submit a draft for approval and consensus of the community instead of just posting it up, since unconscious biases may still exist of which you may not be aware. Wikipedia is not a directory of everything in existence.” Wikipedia. 24 November 2012. <http://en.wikipedia.org/wiki/Wikipedia:Your_first_article>. In this work, fragments of the self (the art, the research and the work) are revealed through the structure of a Wikipedia entry. The entry is read aloud whilst a film is screened depicting the Wikipedia entry in the process of being constructed and edited. The film also comprises the contents of hyperlinks referring to the artist’s wider film work. The work explores, and invites, dialogue around genetic diagnoses and preventative surgery.
Bio: Emma Frances O’Connor is an artist; a PhD Student in the Department of Art and Design, Sheffield Hallam University, her research asks how genetic diagnosis and preventative surgery can be explored through art practice. O’Connor’s experience of Hereditary Diffuse Gastric Cancer informs her PhD research and provides a site for her investigations. Also a qualified teacher, O’Connor is currently working part time as a teacher of Academic English at the University of Sheffield.
Hester Reeve and Helen Blejerman
Websites: Hester Reeve http://www.shu.ac.uk/research/c3ri/people/hester-reeve
Helen Blejerman http://helenblejerman.com
Talk: Bohmian Dialogue and The Art School Experience
Fed by a mutual concern that experimental thinking and open communication form the core of an artist’s development, we have been working together for 5 years implementing David Bohm’s ‘Dialogue’ practice into an art school context (Sheffield Hallam University Fine Art Department). In this talk we discuss Bohm’s radical model for group thinking and explain the obstacles we have come across and the achievements of the groups that have run.
Workshop: A brief introduction to David Bohm’s ‘Dialogue’
A Bohmian dialogue needs to last a day in order to be really successful, or a minimum of 2 x 1.5 hours session with a lunch break in the middle. So, in this workshop we will share our experience of the principles of the practice, explain how to set a group up, facilitate some taster exercises and allow for an open discussion about any issues of interest brought up for participants.
Bio: Hester Reeve’s work encompasses live art/live art documentation, drawing, philosophy and David Bohm’s Dialogue methodology. She has set up and convened Dialogues in a variety of contexts including live art festivals, cultural venues, Universities and prisons (most recently at the University of Applied Arts, Vienna). She regularly publishes and presents at conferences about her live artwork, the relationship between art and philosophy and the significance of David Bohm’s Dialogue. Public showings of her artwork include former Randolph Street Gallery Chicago, LIVE Biennale Vancouver and, as ‘The Emily Davison Lodge,’ Tate Britain. Hester Reeve is Senior Lecturer in Fine Art at Sheffield Hallam University.
Bio: Helen Blejerman work is practice-based research and it includes radio, writing, and drawing. Radio UNAM in Mexico City has broadcast her radio projects and she is a regular guest at the BBC Sheffield. Her investigation explores the emotional power of the mother tongue when living abroad, mainly around ideas of strangeness by Julia Kristeva. She has set up and convened Dialogue in Mexico City in Casa Azul, Drama Academy, as well as in the Fine Art Department in Sheffield. As a guest speaker she has presented in events by the European Union in Bastad, Sweden; by the Mexican Embassy and the Instituto Cervantes in Dublin; and by Cork University in Ireland. Her art projects have been shown in places like New York for Bailey Browne and Associates and in Amsterdam for Consortium Gallery. Helen is an associate lecturer in Fine Art at Sheffield Hallam University.
Title of presentation: String
Abstract: This workshop explores dialogue and conversation through a temporary communal sculpture. The more traditional methods of conversation, which often depend on a range of power relationships, knowledge exchange and confidence will be tampered with to create an unusually structured yet dynamic group conversation.
Bio: Gavin Rogers is an international artist and socially engaged researcher living and working in the United Kingdom. His practice is situated across a range of media from performance to sculpture. Gavin has particular interest in the area of identity; juxtaposing, stereotyping and discovering personal, social and psychogeographical identities though visual, textual and verbal languages.
Bruno Santos (Brazil/Portugal)
Title of presentation: Rebonds Unlimited
Abstract: Xenakis’ Rebonds (1989) is written for, among other instruments, tumba and bongos, both from Latin America. Okho, a work from the same year, is written for African djembes. In an epigraph to Rebonds, Jacques Lonchampt states that Rebonds is free of any “folkloric contamination” (Lonchampt apud Xenakis, 1989). So, to what extent does the origin of instrumentation make a work less ‘immune’ to this ‘contamination’? How does the manner in which these instruments are used/played influence this ‘immunity’? Percussionist Steven Schick later criticized Lonchampt’s statement, arguing that “what Xenakis demonstrates so persuasively is that the choice of sonic material itself plays a considerable role in determining how it will be used” (Schick, 2006:204). Rebonds is never played using hand-drumming percussion techniques. That is not Okho’s case, which requires the djembes to be played with such techniques that are definitely an African heritage. This is actually one big barrier to Okho’s performance and reflects how percussionists master these hand techniques in different degrees. This leads us to consider whether “the composer is not truly in control of how an influence manifests itself in their music” (Dashwood, 2011:19), and if ‘contamination’ may be passed by the in- terpreter’s hand. It also suggests a new realm for the dialogue between composer and interpreter. This project aims to provide performance choices for a ‘contaminated’ version of Rebonds, as the utopia present in this piece, especially in the B movement, makes it prone to experimentation and multiple interpretative choices. These will involve instrumental choices based on the concept of “bongoness” (Schick, 2006:7), and the incorporation of drumming techniques that have ‘folkloric’ origins. This paper also aims to question ways by which works could be ‘contaminated’ by interpreters. It also aims to discuss how issues of purity and permeability in between cultures are addressed in musical works and represented by the binary opposition abstract/folkloristic (Paraskevaidis, 2002:11).
Bio: I began studying percussion with the group Uakti. I did my undergradu- ate and master degrees at the Federal University of Minas Gerais, Brazil under the orientation of Dr. Fernando Rocha. I’m currently a Phd student at University of Aveiro under the orientation of Dr. Helena Marinho and percussionist Miguel Bernat. I was granted a scholarship from CAPES for that. I am a founding member of Oficina Música Viva contemporary ensemble and Prucututrá percussion trio, both from Belo Horizonte, Brazil. I’ve been in Aveiro, Portugal since 2011 and have performed with Drumming percussion group, Simantra percussion group and Fadomorse band. Mu main area of research has been the performance of new music written for Latin American instruments. This repertoire creates a dialogue between popular music and classical music (western tradition music).
Rajni Shah and Karen Christopher
Title of presentation: We are capable of so much more: experiments in listening
Abstract: Rajni Shah and Karen Christopher are friends. This is at the heart of it. Every week since 2011, they meet to perform a duet called ‘Holding OPEN’ in which they sit together, doing nothing, and then write. It’s a private duet, though it sometimes happens in public space. In October 2014, they will spend a week together in Nottingham, having conversations about the things they care about. At the end of the week, they will open up this conversation to the public as a short performance. This is part of a series of performative dialogues that Rajni is organising within the context of a practice-based PhD project at Lancaster University.
Bio: Rajni Shah is an artist working in performance and live art. Whether online, in a public space or in a theatre, her work aims to open up new spaces for conversation and the meeting of diverse voices. From 2006-2010 she conducted a three-year enquiry into the relationship between gift and conversation in public space called ‘small gifts’. From 2005-2012 she produced a trilogy of large-scale performances (‘Mr Quiver’, ‘Dinner with America’ and ‘Glorious’) addressing the complexities of cultural identity in the 21st century. Rajni was an Artsadmin Associate Artist between 2009 and 2013, and is an Honorary Research Fellow at The Centre for Contemporary Theatre, Birkbeck College 2012-2015. She is currently undertaking a PhD at the University of Lancaster, which is funded by the Arts and Humanities Research Council.
Bio: Karen Christopher is a collaborative performance maker, performer, and teacher. She was with Chicago-based Goat Island performance group for 20 years until the group disbanded in 2009. Now London based, her company, Haranczak/Navarre Performance Projects, is creating a series of duet performances devoted to re-defining the collaborative working process with each duet pair. Her practice includes listening for the unnoticed, the almost invisible, and the very quiet. Karen is an Honorary Research Fellow at the Centre for Contemporary Theatre, Birkbeck College; Visiting Artist at University of Roehampton; and Honorary Fellow of Falmouth University.
Fern Smith, Jane Trowell and Phillip Ralph
Title of presentation: Doin’ Dirt Time
Abstract: Performed by Philip Ralph, Fern Smith and Jane Trowell.Based on a transcript of an astonishing interview by internationally renowned arts commentator Suzi Gablik in her book Conversations Before the End Of Time. In “Doin’ Dirt Time” Gablik speaks to Rachel Dutton and Rob Olds, two celebrated American artists who made the decision to give away all their artworks and possessions. Following the interview and an intensive study of tracking and survival skills they disappeared into the American wilderness. This powerful piece questions the role of the arts in society as the two protagonists explain their reasons for not only stepping out of the art world but also stepping out of society itself. They fundamentally question the traditional role of the artist, articulating their desire to live life as a sacred act rather than to simply document it. Doin’ Dirt Time is itself an experiment in simplicity, a stripped back theatre which dispenses with the smoke and mirrors of performance in order to focus on the essentials… It uses a fascinating technique in which actors interpret verbatim recordings in real time.
Bio:Philip Ralph is a performer and writer. His documentary verbatim play, Deep Cut, about the deaths of army recruits at Deepcut barracks in Surrey, won the Amnesty International Freedom of Expression award in 2008. Most recently, Philip has been working on a screenplay about the Lockerbie bomb for Oscar winning director Kevin Macdonald.
Bio: Jane Trowell is an arts educator committed to social and environmental justice. She works mostly with Platform, a London-based art-activist group that campaigns and makes creative interventions on social and environmental issues. www.platformlondon.org
Dr Bambo Soyinka
Title of presentation: Empathy as a creative and dialogical tool
Abstract: In this paper I will introduce two current projects: ‘100 Years of Empathy’ and ‘Transnational Creatives’. 100 years of Empathy is a new collection of plays that sets out to dramatize 100 different approaches to listening, dialogue and empathy. The project explores the possibilities and limits of empathy as a dialogical tool. Transnational Creatives is a proposed international network comprising of creative professionals, researchers and educators committed to exploring creativity across borders. Taking these two nascent projects as a starting point, my paper will explore the challenge of creatively enacting listening, dialogue and across borders. With the audience, I will ask and explore: What does it mean to cross borders in the work itself? In the world?
Bio: Bambo Soyinka is the Head of Creative Writing at Bath Spa University. She is a writer, director and border crosser. Her most recent theatrical works and creative investigations include: Dial 419 for Love (writer and director, National Theatre Wales); Branches: the Nature of Crisis (Emerging Director, National Theatre Wales); The Walking Trust (co-investigator, Wales Lab/Jerwood); Book Kernel (lead creative partner, React/AHRC); Translating Tales of the Trickster (principle investigator, AHRC); and Silent Revival (lead artist, Wales Arts International/British Council). Bambo has a MA in Digital Media from Sussex University and a PhD in Virtual Futures from Cardiff University.
Title of presentation: I’M ON THE TRAIN: a years worth of overheard mobile phone calls
Abstract: I’ll present a selection of overheard phone conversations, collected over the course of a year.
Bio: Without doubt one of the most indecisive artists of my generation I’m motivated by a strong sense of inadequacy and a deep- seated desire to achieve. At the moment I’m studying for a PhD in Fine Art at Newcastle University. I’m looking at how the re- presentation of non-verbal communication can be combined with methods used by medical professions to enhance empathy and rapport: to produce artwork. Most of my work is live: recent pieces include a re-enactment of grunting by professional tennis players, synchronized crisp eating and collective forced laughter.
Title of presentation: Vegetable Thieves, Shopping Spree, Danger Money, and I’ve brought you back a baby dragon
Abstract: You are invited to play Cally Trench’s original board games, which are both playable games and works of art that are animated and completed by people playing them. The games appear sweet and benign, but more sinister and challenging aspects emerge. Players talk to each other, firstly to discuss the rules, and subsequently to comment on the progress of the game. People usually play board games intensely and seriously, identifying with the roles assigned to them by chance and trying to keep control of their ‘lives’ in the game. They often take on the character of their role in conversation. Spectators converse about the progress of the game.There are four games: Vegetable Thieves, Shopping Spree, Danger Money, and I’ve brought you back a baby dragon. Each is for 2-4 players, lasts 5-20 minutes, and has accessible rules. Cally Trench and performance artist Philip Lee will help you play.
Bio: Cally Trench is an artist whose practice includes board games, banquets, drawings, peephole boxes, and timelapse films. She performs with Philip Lee, most recently at Oriel Davies and NCCD (2014). She co-curated the At Play exhibitions (2009-2012) at South Hill Park, Bracknell, with Outi Remes, and their co-authored article on the exhibitions was published in Performativity in the Gallery: Staging Interactive Encounters (2013) ed. Remes/MacCulloch/Leino, publ. Peter Lang. She co-curated Do you remember it – or weren’t you there? (2013) at London Gallery West with Philip Lee, an exhibition exploring ekphrasis. She has an MA (Fine Art) from Central Saint Martins.
Arlene Tucker (Finland) and Alejandra Pineda Silva (Colombia)
Title of presentation: Transforming through Translation
Abstract: Transforming through Translation, the newest phase to be presented in Nottingham, expands upon Tucker and Pineda’s foundation in semiotics, the arts, and their collaboration in the reemerging art installation Translation is Dialogue. Tucker and Pineda invite you to share your experiential space in a digital performance on Saturday, October 4. Your personal meeting with the artists via Skype will be the potential for a new foundation of an installation in Helsinki, Finland at Third Space from 24th-29th of November (http://www.th1rdspac3.com). Your participation in mapping spaces in Nottingham for the gallery in Helsinki will pave the way for new translations and dialogues to travel to Bogota, Colombia. Translation is Dialogue: Transforming through Translation brings awareness of environment and interaction through collective creativity.
Bio: Arlene Tucker is a visual artist, art educator, and toy and game designer interested in adding play elements to daily life through her art. Inspired by translation studies, animals and nature, she finds ways to connect and make meaning in our shared environments. Tucker has a BFA from the Savannah College of Art & Design in USA and a Masters in Semiotics from Tartu University in Estonia.
Bio: Alejandra Pineda Silva has been developing her interest in bodily experience and learning through her artistic formation in contemporary dance and complementary performative art techniques. Her studies in Linguistics and Semiotics have connected her exploration between arts and language. Pineda is a Semiotics professor at Universidad Jorge Tadeo Lozano in Bogotá, Colombia.
Karen Wood and Sally Morfill
Title of presentation: 100m Line Drawing
Abstract: 100m line drawing was performed in May 2013 and explored the deconstruction, by the dancer, of a rectangular block of vinyl lines. The lines on the wall were translated from their geometric form into an animated linear composition as they were spontaneously reconfigured across the surfaces of the wall and the dancer’s body. This produced a different dialogue between drawing and dance.
Bio: Karen is currently a dance practitioner/researcher/educator. She is currently working on artistic projects, supported by Arts Council England, collaborating with other art forms, such as fine art, lighting design and music were she creates and performs in dance pieces for traditional and non-traditional spaces. At the core of the work is a fundamental interest in improvisation. Sally is an artist, educator and a member of Five Years, a collaborative artists’ project (www.fiveyears.org.uk). She is engaged in practice-led research using speech-related gestures as the source for her recent drawings. The work is concerned with the translation of information through materials and across art forms.